CATALOGUE 

OF  TEE 

I X  M  D  ®  0  T  0  @  IN) 


NEW-FORK  GALLERY  OF  THE  FIE  ARTS. 


NOW  OPEN, 

15  THE 

LARGE  SALOON  OF  THE  NATIONAL  ACADEMY  OF  DESIGN, 

CORNER  OF  BROADWAY  AND  LEONARD-STREET. 


NEW-YORK  : 

JAMES  VAN  NORDEN  &  CO.,  PRINTERS, 
No.  60  William-Street. 

1  8  4  4. 


JONATHAN   STURGES,  President. 
F.  W.  EDMONDS,  Vice-President. 
THOMAS  H.  FAILE,  Treasurer. 
WILLIAM  H.  JOHNSON,  Secretary. 


€xanWvt  (ttommtttee. 

HORATIO  ALLEN,  JAMES  McCULLOUGH, 

CHARLES  M.  LEUPP,  JOHN  H.  AUSTEN, 

HENRY  S.  MULLIGAN. 


<&XVLBtet8. 


WILLIAM  H.  APPLETON, 
HORATIO  ALLEN, 
JOHN  H.  AUSTEN, 
JAMES  BROWN, 
WILLIAM  C.  BRYANT, 
WILLIAM  B.  CROSBY, 
THOMAS  S.  CUMMINGS, 
WILLIAM  S.  CONELY, 
STEPHEN  M.  CHESTER, 
PETER  COOPER, 
J.  A.  CLARK, 
ORVILLE  DEWEY, 
CHARLES  DENISON, 
FREDERICK  DE  PEYSTER, 
NICHOLAS  DEAN, 
FRANCIS  W.  EDMONDS, 
ROBERT  ELDER, 
THOMAS  H.  FAILE, 
WALTER  C.  GREEN, 
GEORGE  GRUNDY, 
RICHARD  IRVIN, 
WILLIAM  H.  JOHNSON, 
WILLIAM  KENT, 
JAMES  G.  KING, 
SHEPHERD  KNAPP, 


CHARLES  M.  LEUPP, 
R.  E.  LOCKWOOD, 
JOSEPH  N.  LORD, 
CHARLES  E.  MILNOR, 
ROBERT  B.  MINTURN, 
HENRY  S.  MULLIGAN, 
STEWART  C.  MARSH, 
HAMILTON  MURRAY, 
JAMES  McCULLOUGH, 
LORA  NASH, 
ALFRED  PELL, 
ELEAZER  PARMLY, 
J.  SMYTH  ROGERS, 
PETER  A.  SCHERMERHORNE, 
JONATHAN  STURGES, 
*WILLIAM  L.  STONE, 
BENJAMIN  D.  SILLIMAN, 
FRANCIS  SKIDDY, 
CHARLES  A.  STETSON, 
MOSES  TAYLOR, 
THOMAS  TILESTON, 
JAMES  WARREN,  Jr, 
FREDERICK  H.  WOLCOTT, 
JOHN  WILEY, 
JACOB  A.  WESTERVELT. 


"  Deceased. 


REMARKS. 


On  presenting  to  the  public  the  first  exhibition  of  the  New- York 
Gallery  of  Fine  Arts,  it  is  proper  to  state  the  objects  which  its  found- 
ers had  in  view  in  establishing  the  institution.  A  permanent  Gallery  of 
Paintings,  Sculpture  and  Engravings,  is  the  ornament  of  almost 
every  city  of  the  world  that  equals  in  population  the  city  of  New- 
York.  That  New- York,  with  her  wealth,  enterprise  and  general 
intelligence,  should  be  destitute  of  one  of  the  features  which  indi- 
cate, in  other  cities,  a  liberal  and  refined  people,  has  been  a  source 
of  regret  and  mortification  to  all  who  feel  a  just  pride  in  her  cha- 
racter and  prosperity.  To  supply  this  want,  attempts  have  been 
made,  without  success,  by  many  able  and  intelligent  individuals; 
but  recently  an  opportunity  was  presented  for  securing  this  desirable 
result. 

Several  years  since  the  late  Luman  Reed,  distinguished  as  a  mer- 
chant, and  the  enlightened  promoter  of  the  arts,  commenced  the 
formation  of  a  private  Gallery.  The  ardent  and  generous  friend 
of  our  own  artists,  he  intended  it  should  be  emphatically  a  Gallery 
of  American  Art.  He  had  adorned  it  with  the  productions  of  the 
genius  and  skill  of  a  number  of  our  most  eminent  artists,  and  had 
formed  a  collection  unequalled  in  our  city,  when  death,  in  the  midst 
of  his  career,  put  an  end  to  the  grand  object  he  had  in  view.  On 
the  walls  of  our  exhibition  are  seen  the  evidences  of  his  judg- 
ment and  generosity. 

In  the  settlement  of  his  estate,  consequent  to  his  decease,  it 
became  necessary  to  make  some  disposition  of  this  collection.  To 
separate  and  disperse  it,  piece  by  piece,  was  like  tearing  down,  stone 
by  stone,  a  monument  erected  by  taste  and  liberality.  It  was  a 
painful  idea  to  all  who  had  been  in  any  way  connected  or  associa- 
ted with  him — to  his  fellow  merchant — to  his  family  and  friends — 


4 


to  the  artist  and  lover  of  the  arts.  To  keep  the  collection  entire,  to 
retain  it  in  our  city,  to  make  it  the  foundation  of  a  great  Gallery  of 
Art,  and  at  the  same  time  a  monument  to  the  memory  of  Luman 
Reed,  was  the  united  wish  of  all.  A  plan  was  suggested,  which  met 
the  approbation  of  all ;  and  taste  and  wealth,  gratitude,  respect  and 
affection  united  in  its  accomplishment. 

Accordingly  an  Association  was  formed,  measures  immediately 
adopted  for  raising  the  necessary  funds,  which  were  successful,  and 
the  "Reed  Collection"  is  now  the  property  of  the  Association. 

It  must  be  borne  in  mind,  however,  that  this  is  but  the  commence- 
ment of  a  Gallery  which  it  is  believed  will  grow  with  the  growth 
of  the  city,  until  it  shall  become  worthy  of  the  city  of  New- York. 

One  of  the  most  attractive  exhibitions  in  London  is  that  of  the 
*'  National  Gallery."  It  was  founded  in  1823,  when  Parliament 
voted  £57,000  for  the  purchase  of  the  Angerstein  collection,  con- 
sisting of  thirty-eight  pictures.  In  1825,  £15,000  more  were 
voted  for  an  additional  purchase  of  four  pictures,  making  over 
three  hundred  and  fifty  thousand  dollars  for  forty-two  pictures. 
These  high  prices  should  not  discourage  us  ;  they  were  paid,  not 
solely  because  the  paintings  were  of  extraordinary  merit  and  beauty, 
masterpieces  of  genius,  but  an  immense  additional  value  was 
attached  to  them  because  they  were  painted  very  many  years  pre- 
vious ;  that  from  the  hands  which  executed  them  there  could  be  no 
more  originals,  and  were  consequently  eagerly  sought  after  by  the 
wealth  and  royalty  of  Europe. 

In  1836  the  catalogue  of  the  National  Gallery  numbered  114 
pictures;  of  these,  69  had  been  added  by  bequest  or  donation. 
Among  the  principal  donors  are  the  names  of  Sir  Geo.  Beaumont, 
Rev.  Holwell  Carr,  the  Marquis  of  Stafford,  Earl  of  Liverpool, 
Rev.  W.  Long  and  William  Wilkins,  Esq. 

The  New-York  Gallery  of  the  Fine  Arts  commences,  it  is  be- 
lieved, under  auspices  quite  as  favourable  as  those  of  the  celebrated 
Gallery  of  the  British  metropolis,  and  may  we  not  hope  that  the 
friends  of  the  Fine  Arts  here  will  do  as  the  friends  of  the  Fine  Arts 
have  done  in  London  ?  Already  indeed  has  the  example  been  fol- 
lowed by  several  of  our  most  distinguished  artists — Messrs.  Ingham, 
Cole,  Durand,  Chapman,  Edmonds,  Mount  and  Cummings — who  have 
presented  or  liberally  offered  to  enrich  our  Gallery  with  the  pro- 
ductions of  their  genius  and  skill. 


5 


It  may  not  be  out  of  place  here  to  refer  to  the  fact,  that  by  the 
constitution  the  trustees  are  restricted  from  creating  any  liability  on 
the  part  of  the  Association,  and  that  they  cannot  in  any  way 
dispose  of  any  of  its  property.  A  work  of  Art  presented,  must  ever 
form  a  part  of  the  Gallery,  and  can  never  be  alienated. 

It  is  hoped  that  this  Gallery  will  plead  its  own  cause  with 
those  who  visit  it.  But  it  may  not  be  improper  to  suggest  to 
them  its  need  of  the  public  patronage,  and  to  desire  them  to  apprize 
their  friends  of  the  extremely  easy  terms  on  which  its  advantages, 
both  present  and  prospective,  may  be  enjoyed  ;  prospective  as  well 
as  present,  for  no  assessments  or  taxes  are  ever  to  be  imposed  on 
the  shareholders.  And  yet  the  objects  are  as  great  as  the  means 
are  humble.  A  Gallery  of  Art  in  a  city,  is  a  source  of  refinement ; 
nay,  more,  it  is  a  stronghold  of  virtue.  It  opens  a  fountain  of  pure 
and  improving  pleasure  to  the  stranger,  to  the  idler,  to  the  young, 
to  our  families,  to  our  children.  Call  it  a  lounge,  if  you  please  ;  let 
it  catch  the  idle  hours  or  arrest  the  weary  step ;  yet  idling  and  re- 
laxation here,  can  hardly  fail  to  be  improvement.  Pictures  of  fai^ 
and  spiritual  beauty,  forms  of  majestic  virtue,  portraitures  of  hero- 
ism and  patriotism,  shall  lift  the  thoughts  above  their  wonted  range, 
to  nobleness  and  sanctity.  Soft  and  dreamy  landscapes  shall  draw 
away  the  mind  from  "  cankering  care"  and  the  choking  dust  of  the 
street,  and  carry  it  back  to  the  scenes  of  childhood  and  innocence. 
Common  life  shall  be  depicted  and  spiritualized  upon  these  walls. 
Parents  will  bring  their  children  here  and  explain  to  them  the 
"Course  of  Empire,"  and  tell  them  stories  of  other  lands. 

We  are  speaking,  perhaps,  scarcely  with  the  gravity  that  becomes 
a  statement  like  this  ;  but  so  persuaded  are  we  of  the  beneficial  and 
beautiful  influences  to  be  exerted  by  such  an  institution,  that  we  can 
hardly  restrain  our  language  within  the  limits  of  statistical  propriety. 
There  is  nothing  that  our  country  lacks  so  much  as  the  refining  in- 
fluence of  Art.  And  we  feel  sure  that  we  may  commend  the 
undertaking  to  build  up  a  Gallery  of  Art  in  this  city,  to  the  support 
and  patronage  of  our  people. 


CONTRIBUTORS 

To  the  'present  Exhibition,  by  Donations  or  Loans  of 
Paintings  or  Engravings. 


THOMAS  COLE, 
A.  B.  DURAND, 
THOS.  H.  FAILE, 
FAMILY  OF  MR.  REED, 
CHARLES  C.  INGHAM, 


CHARLES  M.  LEUPP, 
JOSEPH  N.  LORD, 
HENRY  S.  MULLIGAN, 
MRS.  MARY  REED, 
JONATHAN  STURGES. 


CATALOGUE 


BZBIBISIOH 


Nero-SJork  (ftallera  of  tl)c  fine  QVrt0, 


NO.  SUBJECTS  OF  THE  PAINTINGS.  ARTIST. 

1.  Portrait  of  the  late  Luman  Reed,       -       A.  B.  Durand. 

Presented  to  the  Gallery  by  the  Artist. 

2.  A  Magdalen,  -  after  Correggio. 

(Reed  collection.) 

3.  An  Allegory — Death  and  Immortality — An- 

tique,    -  Italian  School. 

(Reed  collection.) 

4.  View  from  Froster  Hill,  England,      -        A.  Richardson. 

(Reed  collection.) 

5.  St.  Cecilia,  (copy  from  original  by  Carlo  Dolce, 

in  the  Dresden  Gallery,)     -  -  Koffman. 

This  copy  took  the  prize  at  the  Dresden  Exhibi- 
tion.   Loaned  to  the  Gallery  by  Mrs.  Mary  Reed. 

6.  Landscape,     -  -  -  Dutch  School. 

(Reed  collection.) 

7.  Mischief  in  the  Pantry,      -  -         F.  W.  Edmonds. 

Loaned  to  the  Gallery  by  J.  Sturges. 

8.  Boy  fallen  asleep  over  his  dinner,       -  -  Philip. 

(Reed  collection.) 


3 


NO.  SUBJECTS  OF  THE  PAINTINGS.  ARTIST. 

9.  Madonna,  Infant  and  Saint  Ann,  -    Italian  School 

(Reed  collection.) 

10.  Mother,  Child  and  Butterfly,        -  -  G.  W.  Flagg. 

(Reed  collection.) 

11.  Interior — Dutch  Apothecary's  Shop,     -       Dutch  School. 

(Reed  collection.) 

12.  Portrait  of  President  Monroe,       -  A.  B.  Durand. 

From  the  original,  by  Stuart,  in  possession  of 
 ,  Baltimore,  Md.    (Reed  collection.) 

13  Pan  and  Midas,    .  -  -  Goltzius. 

(Reed  collection.) 

"  The  Course  of  Empire,"  -  -  Thomas  Cole. 

A  series  of  five  pictures,  illustrating  a  nation's  rise, 
progress,  greatness,  decline  and  fall,  and  the  conse- 
quent changes  in  the  same  landscape. 

Note. — The  isolated  rock  crowning  a  precipitous  hill,  in  the 
distance,  identifies  the  scene  in  each  of  the  series,  but  the  obser- 
ver's position  varies  in  the  several  pictures. 

"  First  freedom  and  then  glory,  when  that  fails, 
Wealth,  vice,  corruption." 

[first  of  the  series.] 
14.  The  "  Savage  State,"  or  *  Commencement  of  Empire." 

The  sun  is  rising  from  the  sea,  over  a  wild  scene  of 
rocks,  forests  and  mountains,  dissipating  the  clouds 
and  darkness  of  night.  Man,  attired  in  skins,  is  seen 
engaged  in  the  wild  dance  and  the  chase,  the  character- 
istic occupations  of  the  savage  life.  In  this  picture, 
we  have  the  first  rudiments  of  society.  Men  have 
banded  together  for  mutual  aid.  The  useful  arts 
have  commenced  in  the  construction  of  the  canoe, 
the  weapon  and  the  hut,  and  we  may  imagine  the 
germs  of  two  of  the  fine  arts,  Music  and  Poetry,  in 
the  singing  usually  accompanying  the  dance  of  the 
savage.  The  empire  is  asserted,  to  a  limited  extent, 
over  sea,  land  and  the  animal  kingdom.  It  is  the  sea- 
son of  Spring, — the  morning  of  the  nation's  existence. 


9 


NO.  SUBJECTS  OF  THE  PAINTINGS.  ARTIST. 

[second  OF  THE  SERIES.] 

15.  "  The  Arcadian,"  or  "  Pastoral  State." 

Ages  have  passed,  a  change  has  been  wrought  in 
the  scene — man  has  subjugated  "  the  untra eked  and 
rude."  We  now  see  the  shepherd  and  his  flocks,  the 
ploughman  upturning  the  soil,  and  the  wafting  sail, — 
by  the  shore  a  village,  and  on  the  hill  the  ascending 
smoke  of  sacrifice.  In  this  picture,  we  have  agricul- 
ture, commerce  and  religion.  In  the  aged  man  des- 
cribing the  mathematical  figure, — the  rude  attempt  of 
the  boy  in  drawing, — in  the  female  figure  with  the 
distaff, — the  vessel  on  the  stocks, — in  the  primitive 
temple  and  the  dance  of  the  peasants  to  the  music  of 
the  pipe,  we  have  evidence  of  the  advance  made  in 
science,  in  the  useful  and  the  fine  arts. 

It  is  early  summer,  and  the  sun  has  ascended  mid- 
way to  the  meridian. 

[third  op  the  series.] 

16.  "  The  Consummation  of  Empire." 

The  rude  village  has  become  a  magnificent  city. 
From  the  bay — now  a  capacious  harbour,  with  pliari 
at  the  entrance  and  thronged  with  war  galleys  and 
barks  with  silken  sails, — ascend  piles  of  architecture, 
temples,  domes  and  collonades.  The  massive  bridge, 
the  streets  and  squares  lined  with  palaces  and  adorned 
with  statuary,  clustered  columns  and  sparkling  foun- 
tains, are  crowded  with  gorgeous  pageants  and  trium- 
phal processions.  It  is  a  day  of  triumph — man  has 
conquered  man — nations  have  been  subjugated.  By 
wealth  and  power,  knowledge,  art  and  taste,  man  has 
achieved  the  summit  of  human  grandeur. 

The  sun  is  near  the  meridian. 

[fourth  of  the  series.] 

17.  "Destruction." 

Ages  may  have  passed  since  the  scene  of  glory. 
Luxury  has  enervated,  vice  has  debased,  and  the 
strength  of  the  mighty  nation  has  consumed  away. 
A  barbarous  enemy  sacks  the  city.  The  heavens  are 
darkened  by  a  tempest,  and  the  storm  of  war  rages 
beneath,  amid  falling  walls  and  collonades,  and  the 
flames  of  temples  and  palaces. 

2 


10 


18.  "  Desolation." 


subjects  of  the  paintings, 
[fifth  of  the  series.] 


The  moon  ascends  the  twilight  sky  near  where  the 
sun  rose  in  the  first  picture.  The  last  rays  of  the 
departed  sun  illumine  a  lonely  column  of  the  once 
proud  city,  on  whose  capital  the  heron  has  built  her 
a  nest.  The  shades  of  evening  steal  over  shattered 
and  ivy-grown  ruins.  The  steep  promontory,  with 
its  insulated  rock,  still  rears  against  the  sky  unmoved, 
unchanged,  but  violence  and  time  have  crumbled  the 
works  of  man,  and  art  is  again  resolving  into  elemen- 
tal nature.  The  gorgeous  pageant  has  passed — the 
roar  of  battle  has  ceased — the  multitude  has  sunk  in 
the  dust — the  empire  is  extinct.    (Reed  collection.) 

19.  The  Wood-Choppers  Boy,       -  -     G.  W.  Flagg. 

(Reed  collection.) 

20.  Portrait  of  President  Adams,  (John  Quincy,)  A.  B.  Durcrnd. 

Original ;  taken  from  life  in  1834. 
(Reed  collection.) 

21.  Assumption  of  the  Virgin,  -  Annibale  Caracci. 

(Reed  collection.) 

22.  The  Nun,  -  Flagg. 

(Reed  collection.) 

23.  The  Match  Girl,  (London,)        -  -  Flagg. 

(Reed  collection.) 

24.  Miniature — Dutch  Enamel. 

(Reed  collection.) 

25.  The  Old  Fiddler,       -        -  -  after  Teniers. 

(Reed  collection.) 

26.  Sleeping  Female,  -  -  -  Flagg. 

(Reed  collection.) 

27.  Portrait  of  a  Young  Lady,  taken  in  1608,  Flemish  School. 

(Reed  collection.) 

28.  The  Chess  Players— Check  mate,       -       6.  W.  Flagg. 

(Reed  collection.) 

29.  Summer  Sunset,  -  T.  Cole. 

(Reed  collection.) 


11 


SUBJECTS  OF  THE  PAINTINGS. 


30.  The  Cavalier  and  Lady ;  copy  from  original, 

by  Metzu,  in  the  gallery  of  the  Louvre, 

Paris,  -  -         A.  B.  Durand. 

Loaned  to  the  Gallery  by  J.  Sturges. 

31.  Autumn  Scene — Cor  way  Peak — White  Moun- 

tains— New-Hampshire,       -  T.  Cole. 

(Reed  collection.) 

32.  Wrath  of  Peter  Stuyvesant  on  -  learning  the 

capture,  by  treachery,  of  Fort  Casimir, 

A.  B.  Durand. 

il  On  receiving  these  direful  tidings,  the  valiant 
Peter  started  from  his  seat,  dashed  the  pipe  he  was 
smoking  against  the  back  of  the  chimney — thrust  a 
prodigious  quid  of  tobacco  into  his  left  cheek — pulied 
up  his  galligaskins,  and  strode  up  and  clown  the  room, 
humming,  as  was  customary  with  him  when  in  a  pas- 
sion, a  hideous  northwest  ditty." 

Knickerbocker's  New-  York,  Book  vi.  Chap.  2. 
(Reed  collection.) 

33.  The  Truant  Gamblers,  -  -         W.  S.  Mount. 

(Reed  collection.) 

34.  Landscape — Composition  Italian  Scenery,  T.  Cole. 

u  O,  Italy,  how  beautiful  thou  art ! 
Yet  I  could  weep,  for  thou  art  lying,  alas, 
Low  in  the  dust,  and  they  who  come  admire  thee, 
As  we  admire  the  beautiful  in  death." 

Rogers'  Italy. 

(Reed  collection.) 

35.  The  Goblet  and  Lemon, 

(Reed  collection.) 

36.  Rebecca,  - 

(Reed  collection.) 

37.  Boors  gambling, 


(Reed  collection.) 

38.  Miniature— Dutch  Enamel. 

(Reed  collection.) 


Van  Aelst. 
Flagg. 

after  Tenters. 


12 


NO.  SUBJECTS  OF  THE  PAINTINGS.  ARTIST. 

39.  Portrait  of  President  Madison,  -       A.  B.  Durand. 

From  the  original,  by  Stuart,  at  Bowdoin  College, 
Maine.    (Reed  collection.) 

40.  The  Farm  Yard,  -  A.  B.  Durand. 

Loaned  to  the  Gallery  by  T.  H.  Faile. 

41.  Falstaff,  enacting  Henry  IV.  -  G.  W.  Flagg. 

Pririce  Henry. — Do  thou  stand  for  my  father,  and 
examine  me  upon  the  particulars  of  my  life. 

Falstaff. — Shall  I  %  content : — this  chair  shall  be  my 
state, — this  dagger  my  sceptre,  and  this  cushion  my 
crown. 

King  Henry  IV.,  Part  i.,  Act  ii.,  Scene  4. 
(Reed  collection.) 

42.  The  Stranded  Ship,  -  -  A.  B.  Durand. 

Where,  hapless  bark,  are  they  who  furled  the  sail, 

When  o'er  thee  burst  the  fury  of  the  gale  ? 

Where  they,  who  grasped  the  shrouds  with  desperate  hand, 

When  the  mad  billow  flung  thee  on  the  land  ? 

Do  these  blue  waves  that  now  in  sunshine  leap, 

Roll  o'er  their  corses  far  within  the  deep  ? 

(Suggested  by  the  picture.) 

Loaned  to  the  gallery  by  Hy.  S.  Mulligan. 

43.  The  Huntsman's  Tent — game  and  dogs  after 

a  hunt,       -  Fyt. 

(Reed  collection.) 

44.  Dance  on  the  Battery,  -        -  A.  B.  Durand. 

"  It  would  have  done  one's  heart  good,  also,  to 
have  seen  the  valiant  Peter,  seated  among  the  old 
burghers  and  their  wives  of  a  Saturday  afternoon, 
under  the  great  trees  that  spread  their  shade  over  the 
Battery,  watching  the  young  men  and  women  as  they 
danced  on  the  green.  Once,  it  is  true,  the  harmony 
of  the  meeting  was  rather  interrupted.  A  young 
vrouw,of  great  figure  in  the  gay  world,  and  who  having 
lately  come  from  Holland,  of  course  led  the  fashions 
in  the  city,  made  her  appearance  in  not  more  than 
half  a  dozen  petticoats,  and  these,  too,  of  most  alarm- 
ing shortness.  An  universal  whisper  ran  through  the 
assemblv,  the  old  ladies  all  felt  shocked  in  the  ex- 


13 

NO.  SUBJECTS  OF  THE  PAINTINGS.  ARTIST. 

treme,  the  young  ladies  blushed,  and  felt  excessively 
for  the  "  poor  thing" — the  whole  assembly  was 
thrown  into  great  admiration,  several  grave  country 
members  were  not  a  little  moved,  and  the  good  Peter 
himself,  who  was  a  man  of  unparalleled  modesty, 
felt  himself  grievously  scandalized." 

Knickerbocker's  New-York,Vo\.  ii.,  Book  vii.,  Ch.  1. 

Loaned  to  the  Gallery  by  T.  H.  Faile. 

45.  Lady  and  Parrot,    -  -  -  Flagg. 

(Reed  collection.) 

46.  Prattsville,  Greene  County,  N.  Y.,       -    D,  Huntington. 

Loaned  to  the  Gallery  by  Chas.  M.  Leupp. 

47.  Portrait  of  President  Jackson,  -         A.  B.Durand. 

Original ;  taken  from  life  in  1835. 
(Reed  collection.) 

48.  Portrait  of  Mrs.  Washington,  wife  of  Washing- 

ton, -  -  -  A.  B.  Durand. 

From  the  original,   by    Stuart,  in  the  Boston 
Athenaeum.    (Reed  collection.) 

49.  Dogs  fighting, 

(Reed  collection.) 

50.  The  Pedlar  displaying  his  Wares, 

(Reed  collection.) 

51.  Murder  of  the  Princes, 

ENTER  TYRREL. 

"  Tyr. — The  tyrannous  and  bloody  act  is  done  ; 

The  most  arch  deed  of  piteous  massacre, 
That  ever  yet  this  land  was  guilty  of. 
Dighton  and  Forrest,  whom  I  did  suborn 
To  do  this  piece  of  ruthless  butchery, 
Albeit  they  were  flesh'd  villains,  bloody  dogs, 
Melting  with  tenderness  and  mild  compassion, 
Wept  like  two  children  in  their  death's  sad  story. 
-  0  thus,  quoth  Dighton,  lay  the  gentle  babes. 

Thus,  thus,  quoth  Forrest,  girdling  one  another 
Within  their  alabaster  innocent  arms  : 
Their  lips  were  four  red  roses  on  a  stalk, 
Which  in  their  summer  beauty,  kiss'd  each  other. 
A  booh  of  prayers  on  their  pillow  lay  : 
Which  once,  quoth  Forrest,  almost  changed  my  mind  ; 
But,  O,  the  Devil, — there  the  villain  stopp'd  : 


Morland. 
A.  B.  Durand. 
G.  W.  Flags:. 


14 

NO.  SUBJECTS  OF  THE  PAINTINGS.  ARTIST. 

When  Dighton  thus  told  on, — toe  smothered 
The  most  replenished  sweet  viork  of  nature, 
That,  from  the  prime  creation,  ere  she  framed." 

King  Richard  III.,  Act  iv.,  Scene  3. 

(Reed  collection.) 

52.  The  Bashful  Cousin,    -  -  -    F.  W.  Edmonds. 

Loaned  to  the  Gallery  by  J.  Sturges. 

53.  Portrait  of  President  Jefferson,       -  A.  B.  Durand. 

From  the  original,  in  the  possession  of  his  daugh- 
ter, Mrs.  Randolph,  by  Stuart. 

54.  A  Sibyl,         -  -  -  -  H.P.  Grey. 

Loaned  to  the  Gallery  by  J.  Sturges. 

55.  Madonna  and  Infant,       -  -  Early  style  of  Raphael. 

(Reed  collection.) 

56.  Washington,  -  -  -  A.  B.  Durand. 

From  the  standard  original,  by  Stuart,  in  the  Gal- 
lery of  the  Boston  Athenaeum.    (Reed  collection.) 

57.  The  Little  Savoyard,  -  Flagg. 

(Reed  collection.) 

58.  The  Vale  and  Temple  of  Segestae,  Sicily,  T.  Cole. 

11  Midway  between  Palermo  and  Segestae,  the 
broad  slopes  of  an  ample  valley  lie  before  the  traveller. 
In  the  depth  is  a  river  meandering  among  fragrant 
oleanders, — on  the  left  the  valley  is  intersected  by  a 
range  of  distant  mountains  ;  on  the  right  is  a  beauti- 
ful bay  of  the  Mediterranean.  Across  the  vnlley  the 
mountains  form  a  green  amphitheatre,  and  high  in  a 
remote  part  is  seen  the  Temple  of  Segestae." — Notes 
of  the  Artist,  made  in  a  tour  in  Sicily. 

Presented  to  the  Gallery  by  the  Artist. 

59.  Portrait  of  President  Adams,  (the  elder,)    A.  B.  Durand. 

From  the  original,  by  Stuart,  in  possession  of  his 
son,  John  Quincy  Adams.    (Reed  collection.) 


15 


SUBJECTS  OF  THE  PAINTINGS. 


60.  Copy  of  a  Figure  in  a  Group,  by  Titian,  in  the 

Borghese  Palace,  Rome,       -         A.  B.  Durand. 

Loaned  to  the  Gallery  by  J.  Sturges. 

61.  Lady  Jane  Grey  preparing  for  execution,     G.  W.  Flagg. 

"  After  uttering  these  words,  she  caused  herself  to 
be  disrobed  by  her  women  ;  and  with  a  steady  serene 
countenance  submitted  herself  to  the  executioner." 

Hume,  Chap,  xxxvi. 
(Reed  collection.) 

62.  The  Bargaining,       -  -  -  W.  8.  Mount 

"  Seth  suspended  for  a  moment  the  whittling  his 
twig,  and  there  seemed  a  crisis  in  the  argument — a 
silent  pause — when  a  shrill  voice  from  the  front  gate 
adjourned  the  meeting  instanter.  It  was  the  voice 
of  Aunt  Nabby  herself,  breathing  authority  and  hos- 
pitality— Joshua,  come  to  dinner,  and  bring  the  folks 
along  with  you." 

Jack  Downing' s  Journal — N.  Y.  Gazette,  Oct.  28,  1835. 
(Reed  collection.) 

63.  Wreath  of  Flowers  encircling  Holy  Family — 

Antique,      -  Italian  School. 

(Reed  collection.) 

64.  Landscape,  -  Flemish  School. 

(Reed  collection.) 

65.  View  on  Catskill  Creek,  -  -  T.  Cole. 

(Reed  collection.) 

66.  Marine  View,  -  Birch. 

(Reed  collection.) 

67.  Hebrew  Women  borrowing  the  Jewels  of  the 

Egyptians,  -  -  J.  G.  Chapman. 

"  And  the  Children  of  Israel  did  according  to  the 
word  of  Moses  :  and  they  borrowed  of  the  Egyp- 
tians jewels  of  silver,  and  jewels  of  gold,  and  rai- 
ment :  and  the  Lord  gave  the  people  favour  in  the 
sight  of  the  Egyptians,  so  that  they  lent  unto  them 
such  things  as  they  required  :  and  they  spoiled  the 
Egyptians." — Exodus,  xii.,  35,  36. 

Loaned  to  the  Gallery  by  J.  Sturges. 


16 


NO.  SUBJECTS  OF  THE  PAINTINGS.  ARTIST. 

68.  Lafayette,    -  -  -  -  C.  C.  Ingham. 

Painted  from  life  in  1325,  and  is  the  original  head 
from  which  was  made  the  full  length  for  the  state,  now 
in  the  State  Department,  Albany. 

Presented  to  the  Gallery  by  the  Artist. 

69.  Wreath  of  Flowers,  encircling  Coat  of  Arms 

and  Miniature  of  Duke  of  Austria, 
(1658,)  -  F.  Marrel. 

(Reed  collection.) 

70.  Moonlight,  T.  Cole. 

(Reed  collection.) 

71.  The  American  Boy's  Inheritance,    -       F.  W.  Edmonds. 

The  Bible,  a  brave  heart  and  a  mother's  blessing. 
Loaned  to  the  Gallery  by  J.  N.  Lord. 

72.  Old  English  Sportsman,        -  Morland. 

(Reed  collection.) 

73.  View  near  Bridgeport,  Connecticut,       -  Richardson. 

(Reed  collection.) 

74.  The  Day  Dream,      -       -       -       -       C.  C.  Ingham. 

Loaned  to  the  Gallery  by  the  Artist. 


CATALOGUE  OF  ENGRAVINGS. 


NO.  SUBJECTS  AND  PAINTERS.  ENGRAVER. 

80.  Count  D'Harcourt,  -  Mas  son. 

From  a  Portrait  by  Mignard ;  mentioned  in  the  "  Engraver's 
Manual"  as  "  a  masterpiece." 

81.  Earl  Temple,  W.  Dickinson. 

From  a  Portrait  by  Sir  Joshua  Reynolds. 

82.  Napoleon,  from  Gerard,           -          -  Desnoyers. 

83.  Louis  XVIII.    do.            -  do. 

84.  "  La  Maitresse  du  Titien,"  painted  by  Titian,  Forster. 

85.  Aurora,    -----  VoZpato. 

From  a  fresco  painting  in  the  Villa  Ludovisi,  by  Guercino  ; 
the  rival  of  Guido's  Aurora,  and  one  of  the  most  admired 
frescoes  in  Rome. 

86.  Beatification  of  the  Virgin,  by  Guido,     -  Bettelini. 

87.  Roman  Ladies  presenting  their  Jewels  to  de- 

fray the  expenses  of  the  War,    -  Marchetti. 

From  a  much  admired  painting  by  Camuccini. 

88.  Christ  raising  the  Widow's  Son,  by  Agostino 

Caracci,       -  Folo. 

The  engravings,  from  No.  89  to  No.  107,  inclusive,  are  of  the 
celebrated  frescoes  of  Raphael,  in  the  Halls  of  the  Vatican. 

89.  Baptism  of  Constantine,  the  first  Christian 

Emperor,  by  Pope  Silvester,       -  Salandri. 

3 


38 


*0.  SUBJECTS  AND  PAINTERS.  ENGRAVER. 

90.  Address  of  Constantine  before  his  battle  with 

Maxentius,         -  Salandri. 

Rajjjiael  has  taken  the  moment  when  the  Cross  appears  in 
the  air  supported  by  Angels. 

91.  The  School  of  Athens,     -  Volpato. 

The  scene  is  laid  in  a  magnificent  building,  imitated  from 
the  original  designs  for  St.  Peter's,  made  by  Bramante  and 
Michael  Angelo.  Though  called  the  school  of  Athens,  it  re- 
presents philosophy  in  general,  and  is,  in  expression  and  scho- 
lastic knowledge,  a  wonderful  work;  each  philosopher,  by  his 
postures  and  gestures,  characterizing  his  peculiar  doctrines  and 
opinions.  In  the  centre  are  Plato  and  Aristotle.  The  style 
and  attitude  of  Plato  denote  that  he  taught  of  immortality. 
Pythagoras  has  his  hands  concealed  in  his  mantle,  referring  to 
the  secrecy  he  enjoined.  The  figure  leaning  on  a  column  is 
Parmenides,  and  near  him  sits  his  adopted  son  Zeno,  Socrates, 
known  by  his  face,  is  talking  with  his  fingers  to  Alcibiades,  in 
armour.  Thales,  the  geometrician,  is  supposed  to  be  walking. 
Xenophon  appears  to  be  calling  to  a  youthful  figure,  his  son 
Gryilus.  Epicurus  is  crowned  with  vine  leaves.  Diogenes, 
with  his  cup,  is  seen  on  the  second  step.  Below  him  is  Bra- 
mante, as  Archimedes,  tracing  an  hexagonal  figure.  The 
crowned  figure,  holding  a  globe,  is  Alphonso  of  Arragon,  as 
Zoroaster,  conversing  with  two  persons,  whose  portraits  are 
those  of  Raphael,  and  his  master  Perugino.  The  statues  and 
bassi-relievi  are  emblematical  of  the  different  schools  of  phi- 
losophy, and  the  picture,  in  point  of  composition,  is  considered 
a  masterpiece. 

92.  Theology,  -  Volpato. 

This  has  also  been  entitled  the  "  Dispute  of  the  Sacrament." 
In  the  upper  part  are  the  Trinity,  Madonna,  and  St.  John  the 
Baptist.  Below  are  Saints  Gregorio,  Ambrozio,  Augustin, 
Domenico,  Bonaventura,  and  Jerome.  The  first  four  as 
Fathers  of  the  Church,  seated  at  each  side  of  the  altar,  are 
discoursing  on  the  Holy  Sacrament.  These  heads  are  thought 
to  be  peculiarly  fine. 

93.  Key  to  the  above. 

94.  Conflagration,      -  Volpato. 

A  fire  happening  at  Rome  in  the  time  of  Leo  IV.,  he  ordered 
Raphael  to  make  it  the  subject  of  a  picture.  The  artist  has 
made  it  somewhat  classical  by  introducing  a  scene  at  the  burn- 


19 


SUBJECTS  AND  PAINTERS. 


ing  of  Troy,  described  by  the  Roman  poet— iEneas  bearing  the 
aged  Anchises,  Creusa  and  the  little  Arcanius.  The  tumult  and 
high  wind  raised  by  the  fire,  are  expressed  with  great  effect. 
The  rescue  of  the  father,  the  person  sliding  down  a  wall  and 
the  woman  carrying  water  on  her  head,  with  the  fine  figure  of 
a  female  in  an  imploring  attitude,  in  the  foreground,  are  much 
admired. 


95.  Repulse  of  Attila,  -  Volpato. 

This  picture,  celebrated  for  its  composition  and  grouping, 
represents  Attila,  King  of  the  Huns,  in  his  advance  against 
Rome,  discovering  St.  Peter  and  St.  Paul  descending  to  arrest 
his  progress.  Raphael  has  chosen  the  moment  when  the 
Apostles  are  first  discovered  by  Attila  alone. 

96.  Key  to  the  above. 

97.  Battle  of  Constantine,  fought  against  Maxen- 

tius,  A.  D.  312,        -  -  -  Fahri. 

According  to  general  opinion,  this  is  one  of  the  finest  pic- 
tures in  the  first  class  of  great  works.  The  most  striking 
groups  are  an  old  soldier  raising  his  dying  son, — two  soldiers 
fighting  in  the  same  part,  and  Maxentius  in  the  Tiber,  vainly 
struggling  to  extricate  himself, 


98.  Miracle  of  Bolsena,        -  -  Morghen. 

The  heads  of  the  Pope,  Cardinals  and  Priests  saying  mass, 
are  much  admired. 


99.  Mount  Parnassus,  -•  Volpato. 

At  the  entrance  of  a  grotto  is  Sappho.  The  most  promi- 
nent of  the  four  figures  near  her  is  Pindar,  conversing  with 
Corinna,  who  points  with  two  of  her  fingers  to  Archilochus. 
Petrarch  wears  a  monastic  hood.  The  elevation  of  Homer,  on 
a  level  with  Apollo  and  the  Muses,  shows  that  he  has  no  rival. 
Raphael  has  made  the  leaves  of  his  laurel  crown  take  the 
shape  of  luminous  rays,  like  the  garland  of  Apollo.  Not  far 
from  Homer  stands  Virgil  pointing  to  the  epic  muse.  Looking 
at  Virgil,  and  standing  below  him,  is  Dante,  and  behind  Virgil 
is  Ariosto.  Raphael  has  placed  the  violin,  an  invention  of  his 
own  time,  in  the  hands  of  Apollo.  The  person  looking  at  a 
gigantic  figure  below  him  is  Horace. 


100.  Key  to  the  above. 


20 

NO.  SUBJECTS  AND  PAINTERS.  ENGRAVER. 

101.  Donation  of  Patrimony  to  the  Church  by 

Constantine,  -  Fabri. 

The  composition  is  admired.  The  episodes  deserve  notice, 
namely  : — soldiers  driving  back  the  spectators — the  beggar — 
father  and  son — child  on  a  dog,  &c. 

102.  Overthrow  of  Heliodorus,  King  of  Syria,       -  Volpato. 

Who  came  to  pillage  the  temple  at  Jerusalem,  by  two  angels 
and  a  warrior,  sent  at  the  intercession  of  Onias,  the  high  priest, 
as  recorded  in  the  second  Book  of  Maccabees.  This  is  ex- 
tremely admired,  especially  the  angels,  who  are  pursuing 
Heliodorus  with  such  rapidity,  that  they  seem  to  fly.  The 
warrior  on  horseback  is  strikingly  fine.  The  temple  appears 
swept  of  the  people  in  a  moment,  while  in  the  background 
Onias  is  discovered  at  the  altar  invoking  Heaven. 

103.  Key  to  102. 

104.  Justification  of  Leo  III.,  ...  Fabri. 

Swearing  before  Charlemagne  that  he  was  not  guilty  of  the 
crimes  laid  to  his  charge  by  those  who  wished  to  depose  him. 
The  composuion  of  this  work  is  much  admired. 

105.  Deliverance  of  St.  Peter,  -  -  Volpato. 

The  manner  in  which  the  lights  are  managed  in  this  picture 
is  considered  inimitable. 

106.  Victory  of  Leo  IV.  over  the  Saracens  at  Ostia,  Fabri. 

107.  Coronation  of  Leo  III.  by  Charlemagne,       -  Fabri. 

The  above  form  a  part  of  a  collection  of  about  two  hundred 
and  fifty  engravings,  presented  to  the  Gallery  by  the  family 
of  Mr.  Reed.  The  collection  comprises  many  rare  and  valu- 
able engravings  by  eminent  artists  of  celebrated  pictures  of  the 
first  masters,  from  the  earlier  stage  of  the  art,  about  the  year 
1500,  to  those  of  our  own  time. 


CONSTITUTION 

OF  THE 

NEW-YORK  GALLERY  OF  THE  FINE  ARTS. 


ARTICLE  I. 
TITLE  AND  OBJECT. 

1.  This  Association  shall  be  entitled  The  New-York  Gallery 
of  the  Fine  Arts. 

2.  Its  object  is  to  establish  in  the  city  of  New- York  a  permanent 
Gallery  of  Paintings,  Statuary  and  other  Works  of  Art. 

3.  The  Gallery  shall  consist  of  works  of  art  belonging  to  the 
Association,  and  of  such  others  as  shall  be  loaned  for  exhibition 
with  the  approbation  of  the  Executive  Committee  :  and  in  no  case 
shall  any  work  be  exhibited  for  the  purposes  of  sale. 

4.  Works  of  Art  will  be  received  as  donations,  and  placed  in  the 
Gallery,  provided  the  Trustees  approve  the  same.  Any  person 
bestowing  any  work  of  art,  which  shall  be  accepted,  shall  receive  a 
vote  of  thanks  from  the  Trustees,  and  a  certificate  of  membership 
for  life. 

ARTICLE  II. 
members. 

1.  The  payment  of  one  dollar,  and  the  subscription  of  this  Con- 
stitution, shall  constitute  the  person  making  such  payment  and 
subscription  a  member  for  life. 

2.  Each  member  shall  receive  a  certificate  of  membership,  which 
shall  entitle  him  to  free  admission  to  the  Gallery  for  life,  whenever 
it  is  open. 


22 


3.  The  certificates  of  membership  shall  not  be  transferable,  and 
all  rights  conferred  thereby,  shall  attach  solely  to  the  person  named 
therein,  and  shall  expire  with  his  life. 

ARTICLE  III. 

TRUSTEES. 

1.  There  shall  be  a  board  of  fifty  Trustees. 

2.  (Names  of  first  Board  of  Trustees,  already  mentioned.) 

3.  Fifteen  shall  constitute  a  quorum  for  the  transaction  of  busi- 
ness. 

4.  The  Trustees  shall  have  power  to  fill  vacancies  in  their  own 
body,  to  elect  from  their  own  number  all  officers  and  committees, 
and  the  same  at  pleasure  to  remove  :  to  make  such  by-laws  and 
regulations  for  the  management  of  the  business  of  the  Association, 
and  for  the  preservation,  increase  and  exhibition  of  the  Gallery, 
as  they  may  deem  expedient :  to  revoke  and  alter  the  same  at 
pleasure  :  to  purchase,  for  cash  only,  the  paintings  collected  by  the 
late  Luman  Reed,  Esq.,  and  such  other  paintings  and  works  of  art 
as  they  may  deem  advisable :  to  procure,  for  cash  only,  such  lands 
and  buildings  as  will  furnish  suitable  rooms  for  the  exhibition  of  the 
Gallery,  and  in  the  mean  time  to  make  such  arrangements  for  the 
exhibition,  consistent  with  this  constitution,  as  they  may  deem  ex- 
pedient :  to  designate  such  persons  as  they  may  deem  proper,  to 
whom  shall  be  conveyed  the  premises  procured  for  the  Association; 
to  obtain  a  charter  of  incorporation  :  to  delegate  to  officers  and 
committees  such  powers  and  duties  as  they  may  deem  expedient  : 
and  in  general,  to  manage  all  the  affairs  of  the  Association. 

5.  The  Trustees  shall  have  no  power  either  to  create  any  debt  or 
liability  on  the  part  of  the  Association  ;  or  to  sell,  exchange  or  lend 
any  of  its  works  of  art ;  or  to  do  any  thing  by  which  any  of  its 
property  can  be  encumbered  ;  or  to  impose  any  assessment  on  its 
members. 

6.  The  Trustees  shall  meet  annually,  on  the  fourth  day  of  Janu- 
ary ;  or  if  that  day  fall  on  Sunday,  then  on  the  fifth. 

7.  All  meetings  shall  be  held  in  the  city  of  New- York. 


23 


8.  Any  ten  of  the  Trustees  may  require  the  Secretary  to  call  a 
meeting  of  the  Board,  at  such  time  and  place  as  they  shall  appoint, 
by  a  written  request  signed  by  them,  and  specifying  the  objects  for 
which  the  meeting  is  called ;  and  no  other  business  shall  be  transacted 
at  such  meeting. 

ARTICLE  IV. 

OFFICERS. 

1.  At  their  Annual  Meeting  in  January  the  Trustees  shall  elect 
from  their  own  number, 

A  President, 
A  Vice  President, 
A  Treasurer, 
A  Secretary. 

2.  Should  an  election  not  be  had  at  the  time  appointed,  the  same 
may  be  had  at  a  meeting  of  the  Trustees,  to  be  specially  called  for 
that  purpose. 

3.  Such  officers  shall  be  chosen  by  ballot,  and  a  majority  of  the 
votes  given  shall  constitute  a  choice. 

4.  Such  officers  shall  hold  their  offices  until  their  successors  arft 
elected,  unless  in  the  mean  time  removed  by  the  Board. 

5.  The  officers  shall  perform  such  duties  as  usually  appertain  to 
their  offices,  and  as  shall  be  prescribed  by  the  Trustees. 

6.  The  Treasurer  shall  lay  before  the  Trustees,  at  their  annual 
meeting  in  January,  a  full  statement  of  the  accounts  of  the  Associa- 
tion during  the  past  year,  which  shall  be  accompanied  by  vouchers, 
and  audited  by  the  Executive  Committee.  . 

7.  The  Secretary  shall  inform  each  Trustee  of  every  meeting  of 
the  Board,  by  notice  properly  addressed,  and  put  into  the  post-office 
at  least  three  days  before  such  meeting. 

8.  In  notices  of  special  meetings  he  shall  mention  the  objects  for 
which  they  are  called. 

9.  This  Constitution  shall  not  be  altered  or  amended  unless  by  a 
vote  of  a  majority  of  the  Trustees,  at  a  meeting  called  for  that 
special  purpose,  and  a  notice  of  such  alteration  or  amendment  given 
in  writing  at  least  two  weeks  previous  to  such  special  meeting. 


24 


ARTICLE  V. 
THE  EXECUTIVE  COMMITTEE. 

1.  The  Trustees  shall,  at  the  annual  meeting  in  January,  elect 
frorn  their  own  body  five  persons,  who,  with  the  officers,  shall  con- 
stitute the  Executive  Committee. 

2.  Should  such  election  not  be  had  at  the  time  above  provided, 
the  same  may  be  had  at  a  meeting  of  the  Trustees  to  be  specially 
called  for  that  purpose. 

3.  Such  election  shall  be  by  ballot,  and  a  majority  of  the  votes 
given  shall  constitute  a  choice. 

4.  The  Executive  Committee  shall  hold  their  offices  until  their 
successors  are  elected,  unless  previously  removed  by  the  Board. 

5.  When  the  Board  of  Trustees  are  not  in  session,  the  Executive 
Committee  shall  have  and  exercise  all  the  powers  of  the  Board, 
subject  to  its  supervision  and  control. 

6.  The  Executive  Committee  shall,  at  the  annual  meeting  of  the 
Trustees  in  January,  lay  before  them  a  full  report  of  ail  their  pro- 
ceedings during  the  past  year. 

7.  The  Executive  Committee  shall  keep  all  the  property  of  the 
Association  fully  insured. 

I 


